Volume 19 | Issue 3 | Number 1 | Article ID 5531 | Feb 01, 2021 The Asia-Pacific Journal | Japan Focus Tsujimura Kazuko and the Body Object Namiko Kunimoto Tsujimura Kazuko in Matsuzawa Yutaka’s home, c. 1972. Abstract: Active from the 1960s onward, Tsujimura Kazuko (1941-2004) was an avant- garde dancer who aimed for a “dance without body, without dancing.” This paper examines how Tsujimura sought, unconsciously orIn this c. 1972 photograph taken at conceptual consciously, to reveal how the body was artist Matsuzawa Yutaka’s home in Shimosuwa, harnessed for—and constructedJapan, we see Tsujimura Kazuko (1941-2004) 1 from—production in the increasingly capitalist laying still, yet not relaxed. We note her deftly world of high-economic growth Japan. As we pointed toe, held tight and parallel with the shall see, through her limited, but often tense, tatami below her. While her hands are invisible movement in dance, in her use of costumes in and her face is angled away from the camera, fragmented installation pieces, and in her we can clearly see her legs, the faint outline of social alliances, she sought to undo the notion her torso, and her protruding nipples. Her bent that the body was an expression of free agency. left leg suggests the potentiality of motion, her readied muscles outlined through the shades of the black and white photograph. Her body is Keywords: dance, Butoh, gender, labor, held between a relaxing state of sleep, conceptual art, objecthood, exports, commodity meditation, or death, and a tense state of culture, mass culture, women. arousal, muscular flex, and threat. Tsujimura Kazuko, who lived from 1941-2004, was a dancer and artist (like many of her peers active in the avant-garde scene, she did not distinguish between the two genres), who claimed she performed a ‘dance without body, without dancing’. Yet rather than a full negation of the body that this opaque description of her work might bring to mind, Tsujimura’s artworks, photographs, and performances used silhouettes, masks, and translucent materials that were at once animate and inanimate, fragmented and whole. This essay examines how Tsujimura’s oeuvre fractures the human/object binary to instead show us the woman-as-object constructed through masks, fabrics, and labor. While many artists, dancers, and musicians in (Figure 1) Photograph by Kusono Yuji of the United States as well as in Japan were 1 19 | 3 | 1 APJ | JF thought to be using art as an outlet of personal demand, and even economic reliance on craft expression, other artists, such as Tsujimura, exports created an “acute awareness of seemed to understand that the notion of pure American attention; this led to a re-examination individuality was a bygone ideal rather than a of ‘tradition,’ and the recreation of this from a reality. For Tsujimura, I argue, the self was vague notion of ‘Japaneseness.’”5 In other defined through objectification from thewords, the correlation between Japan and the structures of gender, race, and the intense decorative was a concept imbedded in trade: a capitalist development of 1960s Japan and the concept demanded by the United States rise of the global marketplace. The feminization market, and supplied by Japanese craftspeople of Japan that began with the so-calledand laborers. “opening” of the country under Commodore Perry, continued with the American Occupation In the 1960s and 1970s, at a time in Japan of Japan and the “economic miracle” of the when women’s bodies were either harnessed 1960s. Exports from Japan to the United States for the factory workforce or understood to be heightened the sense of Japan’spart of a decorative backdrop, Tsujimura often “ornamentalism:” as a country that wasnegated the body in her work, revealing instead feminine, exotic, and available. According to the dangers of a subject that can be Anne Anlin Cheng, “Ornamentalism” is “…a disassembled and replaced. Her work aligns conceptual paradigm that can accommodate with the growth of the women’s liberation the deeper, stranger, more intricate, and more movement, which had critiqued the male- 6 ineffable (con)fusion between thingness and dominated left-wing youth movement. This personness instantiated by Asiatic femininity paper examines how Tsujimura sought, and its unpredictable object life.”2 unconsciously or consciously, to reveal how the Ornamentalism thus reveals the ways that body was harnessed for—and constructed from—production in the increasingly capitalist objecthood is not held in opposition to world of high-economic growth Japan. Like personhood, so much as it is deeply entangled Cheng, Tsujimura seems to acknowledge and with what personhood is understood to be. expose how her Asian, gendered body straddles Cheng’s model, building on Edward Said’s the space between co-optation and agency. As concept of orientalism, is assumed to refer to we shall see, through her limited, but often the strains, effects, and constructs of a Western tense, movement in dance, in her use of viewer onto the East Asian woman. Yet, by the costumes in fragmented installation pieces, and late 1960s and 1970s in Japan, it is easy to see in her social alliances, she sought to undo the how desire for the “decorative grammar” of the notion that the body was an expression of free ornamental woman had been internalized and agency. The young artist’s dance revealed the accentuated through American imperialism, blurry line between personhood and trade, and uneven globalization. Starting objecthood, exposing how the gendered figure immediately at the end of the war, Takuya Kida was co-opted by the mechanisms of state points out that “…craft products were chosen capital. Tsujimura fractures the human/object binary, and instead shows the “ornamental” as a form of payment in kind for food imported 3 woman as constructed through masks, fabrics, from the USA.” These crafts products included and machines. fabrics, lacquer objects, bamboo, and dolls. According to a survey of American Officers, “… the designs should be simple and should feature purely Japanese forms and patterns, and the most favored decorative motifs were 4 those based on birds and flowers.” The 2 19 | 3 | 1 APJ | JF body. Similarly, the silhouette of the head alongside her own suggests the individual body is not so different from a doll: from the view of the labor market, we are constructed and replaceable. Notably, the edges of her arms are visible, as if to suggest that this process of replacement is imperfect. These cut outs prefigured Kara Walker’s use of the silhouette to problematize the ways representations have been used to claim ownership over the female body. Tsujimura’s feet are not visible in the work. Feet and legs are arguably central to any dancer’s identity: they stamp, they turn, they stand en pointe. Tsujimura’s erasure of the feet could be read as a symbolic negation of this identity in dance, an insistence that dance can be other than movement, other than expression. In the piece, the body is invisible, the dress hanging loosely in its place. Only her playfully neutral face is visible at top. When the piece was displayed in Milano, Tsujimura was (Figure 2) Photographer unknown, not present, and the dress was exhibited with Tsujimura Kazuko at Catastrophe Art, instructions for viewers to “wear” it, thereby 1972 denying the artwork as a unique, expressive outlet and suggesting instead the uneasy transferability of identity. Tsujimura’s work here is comparable to Gutai Although there are a limited number of Art Association member Tanaka Atsuko’s photographs of Tsujimura’s performances and earlier rendition of the troubled female body.7 artworks, those that remain demonstrate her Tanaka’s 1956 work, Electric Dress, reveals a heightened ambivalence toward the concept of lack of fixity in the subject, a sense of the naturally expressive body. For example, uncertainty about the strength and physical Tsujimura’s contribution to the 1972 event presence of self.8 Subjective identification, for “Catastrophe Art,” (figure 2), World Uprising, her, was circuitous, experienced through seems to mock the idea of unique personhood connection, disconnection, and repetition. and suggests women are little more than Given that artists like Tanaka and Tsujimura disposable, repetitious, amusements. In the made artwork that denied the expressive installation piece, her body is obscured by a primacy of the body, we might ask: What social white dress hanging by string, reminiscent of and historical factors might have motivated this puppetry. This effect is magnified by the cut tendency? out of the hand shaped as though holding a string in the background. Other silhouettes of hands further complicate the image, making it hard to discern which hand belongs to which Women and the Object of Labor 3 19 | 3 | 1 APJ | JF of growth, not for women’s equality. The plan also emphasized the importance of children as the future labor force and the need to ensure 12 their well-being” for that purpose. As a result, “[t]he change in women’s labor force participation was dramatic: between 1962 and 1975, the total number of women employees grew by 44 per cent (from about 8 million to over 11 million workers).”13 In Assembled in Japan, Simon Partner explains how the darker side of the industry leaned heavily on women’s labor: “Electrical goods companies competed directly with textile factories for young female labor.14 Underneath the apparent revolution in technology development and industrial structure lay a profound continuity based on (Figure 3) – Women in an electronics the abundance of extremely cheap, relatively factory, c. 1950s docile female labor.” Both Tanaka and Tsujimura raise the relation among labor, the body, and textiles in their work. In the late 1950s and 1960s, there was a push These artists seem to address how, during the for economic growth in Japan, which led to 15-year-war, and again in Japan’s postwar push startling changes in people’s everyday lives.